Quite the soniferous spring this year! September saw immersive COMA concerts and my piano collaboration Sanctuary x Mill; October featured Channelling Dulcie’s Piano and news of my 2026 Elizabeth Wood Fellowship. Up next: my octophonic work Volumes at On the Terrace and a Watershed revival for Feast Festival.

After a big year of travel and projects overseas, I’m back in Australia and diving into the next phase of the ARC Fine Tuning project while stepping into my new role as President of the Australian Forum for Acoustic Ecology. It’s been great mentoring at the Soundstream Emerging Composers Forum, playing in a few Fringe shows, and getting ready for new performances at ANAT SPECTRA and Chamber Music Adelaide later this year.

recapping on further adventures, including escapes to Greece and London, a month-long artist residency in Florida, and return home via Chicago, Amsterdam and Berlin…

these past months have been a blur of planes, poems, and polar patterns of sound — birthday beaches in Thailand, sticky nights in Bangkok, elephants in Chiang Mai 🐘, then on to misty Scottish hills, old family hearths, and Fringe chaos under Arthur’s Seat 🏴.

from there: York, where I deepened my ambisonic practice among ivy-covered studios and Viking echoes. Birmingham brought speakers like constellations, BEAST shows, Tolkien woods, and slow field recordings under a quieter autumn sky 🍂.

somewhere in between: ruined pianos, sacred ruins, synchronicities with strangers who weren’t strangers after all.